I. Allegro Moderato - Erwin Schulhoff - Concertante & Ballet Music (CD)

Tango Erwin Schulhoff Jazz Erwin Schulhoff About this album Although Erwin Schulhoff 8 July , Prague August , Wlzbourg internment camp, in Bavaria did not settle permanently in the city of his birth until the end of he had studied and worked primarily in Germany up to that time , he soon made his name as a composer among both the German speaking inhabitants of Prague and in native Czech musical circles.

Download booklet. De toon is volstrekt onromantisch, brutaal en af en toe behoorlijk ruig - al blijft de balans tussen het strijkkwartet en al die blazers waaronder ook het stevige koper overeind.

Dirigent Werner Herbers en zijn Ebony Band verdedigen deze muziek met een flair alsof ze zelf iedere nacht optreden in mondaine, rokerige bars. Fono Forum Die Wiedergaben der Ebony Band Iets voor muzikale avonturiers. De Ebony Band verdient dan ook alle lof voor dit eerste deel van de werken voor ensemble Over het concert voor strijkkwartet en blazers uit Dit stuk is zonder meer een meesterwerk en rechtvaardigt op zich al deze uitgave.

LEbony Band, nous offre de bonnes interprtations Adagio religioso — III. Andante comodo 8. Vivo, con molto preciso 9 III. Allegro non troppo 2. Andante moderato 3. Quasi menuetto, moderato - Allegretto vivace 4. Vivace 6. Andante 7. Allegretto non troppo 8. Finale - Poco allegretto con variazioni Allegro 2. Poco adagio 3. Allegro Allegro non troppo ma con brio 6. Allegro non troppo, ma con brio 9.

Works Haas, Pavel String Quartet no. The composers whose music is featured on the present album lived and worked in Czechoslovakia between the two world wars, and their fates were afflicted by the monstrous Nazi regime.

The names will be familiar to many as representatives of that generation of musicians whose careers and lives were brutally snuffed out by the Nazis in the s. Thanks to the efforts of a number of musicians, musicologists and record companies over the past few decades, their music is gaining familiarity with domestic and international audiences, and this new disc from the Bennewitz Quartet is sure to raise their profile still further.

But it is the distinctiveness of each section, even within a brief timeframe the longest is not much more than four minutes , that is most striking: the light spikiness of the scherzo section, the haunting lines of the Largo , the energy and eventual jubilation of the concluding Allegro vivace , but perhaps most of all the radiant tenderness of the opening Allegro moderato.

It is a wide-ranging work that starts in a mood of rapt innocence but soon takes on darker and even sardonic colourings, with a deft feeling for the timbral possibilities of the string quartet genre. Once again, the Bennewitz Quartet turn in a superb performance of a miniature masterpiece, the only performance currently in the catalogue.

Dedicated to Darius Milhaud, it is a wry celebration of contemporary dance forms, including a Viennese waltz, a Mediterranean-infused Serenade, a lively Czech dance, a sensually inflected Tango milonga , and a bracing concluding Tarantella.

Quibble aside, the Israeli Aviv Quartet do these highly memorable quartets proud, the performances are just electric! The "String Quartet No. One hears the drones right from the first movement, and the feeling of attaca vitality is convulsive. The rural Slovak tune in the scherzo is dynamic and hugely effective, whereas the balance of the quartet then falls on the unexpected, slow final movement. The dance patterned and brief affairs that make up the "Five Pieces for String Quartet" are robust and magnetic, a suite of dance movements which seem straightforward: a Viennese waltz, a serenade and a tango are among their number.

The waltz is almost unrecognizable as such in the opening bars, but soon becomes irresistible; the other dances are similarly gripping. The tarantella is a good example; relatively straightforward in form, the harmonies nevertheless make us feel as if we are in the musical equivalent of a house of mirrors.

The String Quartet No. It has a theme and variations second movement, an "Allegro gajo"-Czech speakers will enjoy the resonance of the word-and a similarly compact four movement structure as the earlier work. However it is the more conventional. The melancholic viola statement that starts the slow theme has, unusually for the composer, a degree of pathos attached to it in the ensuing variation.

The rusticities of the folkloric gajo movement are even more explicit than the "Alla Czeca" movement in the Five Pieces. And the ruminative start of the finale picks up on the uneasy tristesse of the variations before control is re-established and the work ends on a note of renewed vitality and positivism.

I feel that it is safe to assign 'small masterpiece' status to both of these string quartets, but. What do the rest of you string quartet lovers think? Labels: Ervin Schulhoff , Schulhoff. I might keep the Schulhoff posts coming tonight if I can, although I have been given the gift from my friend's daughter I speculate of a respiratory infection which, incidentally, is the most pleasant thing happening over here at this time once again music remains my only true medicine!

Complaining aside, listening to Schulhoff and having quantities of teas is an otherwise lovely way to spend time.

This Panton disc is one of the first Schulhoff discs I bought in the early s. It is among my favorites, and the interpretations are near-perfect to what Schulhoff intended. Interestingly we have. This cannot be disappointing however unless the music itself is disappointing, and those of you already enjoying the Schulhoff needn't any persuading.

Thus I am only briefly talking about Schulhoff's exotic, oddball post-Bartokian "Ogelala", which summons in the mind of the listener the fantastic and barbaric, not unlike "The Rite of Spring" or the "Scythian Suite", by Stravinsky and Prokofiev respectively.

When the young Schulhoff wrote the ballet Ogelala in , he was still absorbing influences from all over. This is the Ballet suite-the whole ballet has a duration of about 40 minutes. Termed a "Ballettmysterium", "Ogelala" was finished in short score in , but the busy Schulhoff required another three years to orchestrate the 'neo-primitive' work, which was premiered in Dessau on 21 November It is based on a pagan legend from pre-Columbian Mexico: the warrior Ogelala, taken captive by the tribe of the king Iva, nonetheless manages to seduce the princess Ivala and withstand all manner of taunts and torture before he finally succumbs.

The ritual, erotic, and war-like dances take place whilst Ogelala is tied to a stake for sacrifice to the gods. Neo-primitivism in art Track listing:. Double Concerto for Flute, Piano and Orchestra Ogelala, Suite from the Ballet Schulhoff's artistic personality seemed at war with itself. On the one hand, just about everything he wrote displays a high degree of musicality and finish. On the other, he never seemed to settle on any one style for long.

He loved American jazz. Indeed, he was one of the few Europeans who had heard the real thing early on and amassed one of the largest private jazz record collections in Europe. Yet aside from surface gestures, jazz never -really- influenced the music he wrote. In essence, Schulhoff used jazz just as Stravinsky, Weill, Honegger, early Hindemith, and Martinu did-as a way to clear out lingering spores of late nineteenth-century musical habits and gestures. For almost all of these men, jazz represented a way-station on the journey toward a deeply personal Modernism.

Schulhoff, on the other hand, seems "unsettled," like Lukas Foss. His death leaves us with time and again speculations as to how his music would have continued.. I will say that I marginally prefer the Koch version. The "Double Concerto for Flute and Piano" is one of my favorites and one of the composer's most artistically vigorous and psychologically most integrated works.

Schulhoff wrote it for himself and the great French flutist Rene Le Roy as soloists. One gets from the work a great feeling of Paris in the Twenties although Schulhoff didn't write it there exclusively and of what the French imply by the word "mesure" - a sense of proportion, balance, elegance, and restraint. At the time, Paris, of course, had diverse strands and a wide expressive range of music, most of which derived from either Stravinsky or Debussy.

Schulhoff stands a little apart, but not much. The first two movements eschew shock for a noble and athletic neo-classicism-similar to the later works of Hindemith and the American Walter Piston. For the third movement, Schulhoff creates a theme right at home with something light by Auric, Milhaud, or Poulenc-a cheeky combination of folk song and street ditty.

Here, too, a jazzy passage flits through, sort of like a hotel band half-heard in the distance. All the movements are beautifully worked out. The byplay between the two instruments, soli and with the orchestra, satisfy beautifully.

The orchestra doesn't merely accompany, as it does mostly in the Piano Concerto, and it doesn't dominate. Everybody gets their licks and, most importantly, takes part in the conversation. One might miss the competitive, heroic aspect in this concerto, but something more mature and congenial replaces it.

This brings the concerto closer to the ethos of great chamber music. Martinu's concertante works especially often occupy the same exquisite cosmos. One cannot love this concerto too much!

For another take on it, check out this version of the Double Concerto posted in September:. The "Concerto for String Quartet" comes from the days of Schulhoff's experience as a radio and recording-studio musician, and the composer wrote it with contemporary 'electric-mike techniques' and capabilities in mind.

Schulhoff emphasizes the contrast in sound between winds and brass a piece wind ensemble comprises the orchestra and the string quartet. The soloists and tutti very rarely blend. The solo wind writing is mainly harsh and in-your-face in a wonderfully Hindemithian way despite a downright lovely opening to the second movement.

What delicacy we encounter comes from its accompaniment to the string quartet-often just one or two instruments, so as not to drown out the strings-although the string writing itself is hardly gentle in idiom. The language, though neoclassical, sounds more Central European than French, coming close in spots to Bartok. The seriousness of emotional purpose has increased from Schulhoff's music in the early Twenties, without falling into his occasional early trap of neurotic obsession.

One could fairly describe the concerto as "grave. The third movement begins like a folk dance from a very sophisticated village band, much like the faster parts of Bartok's Hungarian Sketches. Martinu and Hindemith fans should be especially delighted. The solo piano pieces, historic documents played here by the composer himself, sound like bagatelles, interesting particularly for how far the music lies from the promise of the titles: "Tango," "Blues," "Charleston," "Tango-Rag," and so on.

Some of the most interesting music comes from the "5 Etudes". The composer plays with a rhythmic elasticity that indicates his familiarity with real jazz playing. Since Schulhoff recorded these works in , the sound of course is mono, but electrical rather than acoustical. There's a mild patina of surface noise, but nothing irritating. The performances are, needless to say, infectious and affecting. I cannot imagine a more poignant conclusion to this most exceptional disc.

I should stop making promises I cannot keep! This is the second Schulhoff post, meant for last night. I was too deflated emotionally and physically so here it is this Tuesday afternoon. The idiom of the Fifth Symphony is consistent with that of the Third. Schulhoff completed its orchestration after the fall of Czechoslovakia and it is not easy to consider the work as an abstract entity when we know what became of its maker.

Selige Stunde: Romantic Songs. Jonas Kaufmann (tenor), Helmut Deutsch (piano) Available Formats CD, MP3, FLAC, Hi-Res FLAC. Recorded 'in private quarters' during lockdown, the German tenor and pianist's recital of songs by Schubert, Strauss, Grieg, Zemlinsky, Mahler and others is .

9 Replies to “I. Allegro Moderato - Erwin Schulhoff - Concertante & Ballet Music (CD)”

  1. Allegro moderato grotesco. Piano Sonata No. 1: III. Allegro moderato grotesco. Schulhoff is now my favorite composer nobody has heard of. I highly recommend this CD and Schulhoff's music in general (he also has chamber music, symphonies, and an opera) to pianists willing to venture out and expose themselves to some unduly neglected 5/5(3).
  2. Although Erwin Schulhoff (8 July , Prague August , Wlzbourg internment camp, in Bavaria) did not settle permanently in the city of his birth until the end of (he had studied and worked primarily in Germany up to that time), he soon made his name as a composer among both the German speaking inhabitants of Prague and in native Czech musical circles.
  3. Allegro moderato. $ $ Hide 5 tracks for Goldschmidt, B: Greek Suite. Schulhoff: Ogelala. $ $ Erwin Schulhoff died in the Würzburg Concentration Camp in If Goldschmidt's Comedy of Errors Overture may be termed a carefree and youthful stroke of genius, then his Greek Suite is a gloomy document of the.
  4. Dimitri Schostakowitsch*, Erwin Schulhoff - Gidon Kremer ‎– Edition Lockenhaus, Vol. 4/5 Label: ECM New Series ‎– ECM /48, ECM Records ‎– /5(10).
  5. Aug 09,  · Concertino for String Quartet and Wind Instrument Orchestra - Allegro moderato. Allegro molto con spirito · Ervín Schulhoff · Talichovo kvarteto Schulhoff: Concertante and Ballet Music.
  6. May 15,  · 50+ videos Play all Mix - Schulhoff: Sonata for Flute and Piano, I. Allegro moderato, Adrienn Kantor, Jevgenia Motsalova YouTube Erwin Schulhoff - Sonata for flute and piano. Mvt 1 - .
  7. Buy a CD or Vinyl record and get 90 days free Amazon Music Unlimited With the purchase of a CD or Vinyl record dispatched from and sold by Amazon, you get 90 days free access to the Amazon Music Unlimited Individual plan. Molto allegro con brio e agitato. Symphony No. 1: III. Molto allegro con brio e agitato Erwin Schulhoff has /5(4).
  8. Erwin Schulhoff ’s Five Pieces reveal his zest for rhythm and dance, as well as his evidently having been inspired by the music of the Viennese salons, Italy and Spain. Pavel Haas ’s Quartet no.2, dating from , serves as vivid proof of the claim that the composer was the .
  9. Adagio Op. 29 (After The Aria Of Katarina From The Third Scene Of The Opera "Lady Macbeth" By Mzensk) - Allegretto Op. 22 (After The Polka From The Ballet "The Golden Age") – Erwin Schulhoff: Sextet: – Allegro Risoluto: – Tranquillo (Andante) – Burleska. Allegro Molto Con Spirito: – Molto Adagio.

Leave a Reply

Your email address will not be published. Required fields are marked *